MATEIU CARAGIALE

'Mateiu Ion Caragiale' (also credited as 'Matei'; 'Mateiŭ' is an antiquated version;^[1] March 25, 1885-January 17, 1936) was a Romanian poet and prose writer, best known for his novel ''Craii de Curtea-Veche'', which portrays the milieu of boyar descendants before and after World War I. In addition to his literary contributions, he was a heraldist and graphic artist. Caragiale's style, associated with the Decadent movement of the ''fin de siècle'' and early modernism, was an original element in the Romanian literature of his day, and the scarcity of writings he left is contrasted by their critical acclaim and popularity.
The illegitimate and rebellious child of influential playwright Ion Luca Caragiale, he was the stepbrother of Luca Caragiale, an avant-garde poet who died in 1921. Mateiu Caragiale was noted for his dandyism and eccentricity, despite his parallel career as a civil servant; most of his prose texts were first published by the modernist magazine ''Gândirea'' during the late 1920s and early 1930s.

Contents

Biography

Early life

Father-son conflict and literary debut

Civil servant and World War I

''Craii de Curtea-Veche'' and Italian sojourn

Later years and death

Caragiale's style and works

Views and mannerisms

Prose

Poetry

Legacy

Notes

References

External links

Biography

Early life

A native of Bucharest, he was born out of wedlock to Ion Luca Caragiale and Maria Constantinescu, an unmarried Town Hall employee^[2] who was 21 at the time.^[3] Living his first years at his mother's house on Frumoasă Street, nearby Calea Victoriei (until the building was sold),^[4] Mateiu had a half-sister, his mother's daughter from another extra-conjugal affair.^[5] In 1889, his father married Alexandrina Burelly, bringing his son into his new family.^[6] In following years, he was progressively estranged from his father, and, according to Ecaterina, the youngest of Ion Luca Caragiale and Burelly's children, "Mateiu alone confronted [his father] and contradicted him systematically."^[7]
The young Caragiale was sent to school at Anghel Demetrescu's Sfântul Gheorghe College in Bucharest, where he discovered a passion for history and heraldry.^[8] At around that time, he was introduced to Demetrescu's circle, which included the doctor Constantin Istrati, the writer Barbu Ştefănescu-Delavrancea, the physicist Ştefan Hepites, and the architect Ion Mincu.^[9] During a 1901 summer trip to Sinaia, where he sojourned with the Bibescu family, Mateiu was acquainted with George Valentin and Alexandru Bibescu (in a letter he wrote at the time, he described the latter as "only too crazy and a frantic maniac").^[10]
In 1904, his father moved to Berlin, bringing Mateiu with him — in hopes that he could be persuaded to study law at the Frederick William University —, but Mateiu spent his time reading and exploring the Imperial German capital.^[11] He would later refer to this period using a French term, ''l'école buissonière'' ("the vagrant school"),^[12] and stressed that "[it] was of great use to me".^[13] Ecaterina Caragiale indicated that one of her brother's favorite pastimes was "admiring the secular trees in the Tiergarten."^[14] Dissatisfied with Mateiu's attitude, Ion Luca sent him back to Romania in 1905, where he tried to enlist in the Academy for Officers of the Cavalry, but was rejected. He enrolled at the Law School at the University of Bucharest, but quit one year later.^[15]

Father-son conflict and literary debut

The conflict with his father was to prolong itself for as long as the latter was alive.^[16] It was most likely sparked in 1904, after the death of his aunt Lenci, when Ion Luca took over his son's inheritance, and aggravated by his father's decision to cease subsidizing him, which left the latter without a stable source of income.^[17] He was thus supposed to provide for his mother and sister, until Ion Luca transferred the inheritance resulting from the death of his aunt Catinca Momuloaia, to his former lover.^[5] He also indicated that his father had made him attend the Frederick William University without advancing money for tuition.^[19] Some time after returning to Romania, he began attending the Symbolist literary circle formed around the poet and leftist political agitator Alexandru Bogdan-Piteşti, who provided the young Caragiale with money and often invited him to supper.^[20]
In spring 1907, despite the ongoing father-son tensions, Mateiu, who was recovering from a severe form of measles, returned to Berlin, where Ion Luca's family was still residing.^[21] He soon became the lover of a local woman, an affair which reportedly caused his father to declare himself scandalized.^[22] Over the same year, Mateiu Caragiale was fascinated with rumors of the Romanian Peasants' Revolt violence, recording various exaggerated news about its character and extent,^[23] and describing it as "a fine thing".^[24]
Mateiu Caragiale had his first thoughts on ''Craii de Curtea-Veche'' ("The rakes of the Old Courtyard") in 1910.^[25] Two years later, during a trip to Iaşi,^[26] he published his first 13 poems in the literary magazine ''Viaţa Românească'', winning the praise of poet Panait Cerna.^[27] The literary critic Şerban Cioculescu stressed that these had been printed following his father's interventions with the magazine's staff.^[28]
His father died in June 1912, which, according to literary critic Şerban Coiculescu (who cited Mateiu's correspondence), left him indifferent.^[29] By then, Caragiale-son resented Ion Luca's alleged exploitation of his popularity for material gains, and, later in the same year, commented that, "for a small fee", Caragiale-father could be persuaded to read his works at the fair in Obor.^[30] Despite his love for Berlin, he was also dissatisfied with his father's move to the city, and spread the rumor that, in the eyes of his family and friends, Ion Luca's departure was interpreted as "insane" (while alleging that Caragiale-father was planning to author plays in German, with assistance from Mite Kremnitz, the one-time lover of poet Mihai Eminescu).^[31] At the funeral ceremony, he reputedly shocked pianist Cella Delavrancea by coldly stating in French: ''Je suis venu voir feu mon père'' ("I came to see my late father").^[20]

Civil servant and World War I

Caragiale returned to Bucharest, where, in October, he became the chief of staff in the Ministry of Public Works in the second Titu Maiorescu executive, under Minister Alexandru Bădărău.^[27] He had manifested a relative interest in politics around 1908, after his father rallied with Take Ionescu and his Conservative-Democratic Party; at the time, he criticized Ion Luca's political choices, but nonetheless noted that it could serve as a means for his own advancement ("From now on I'll have political lode [...], something certain, if there ever was certainty on Earth.")^[22] Four years after this comment, soon after making his literary debut, he clashed with his father over having considered a cabinet appointment in Ionescu's executive.^[28]
As Caragiale senior died, Mateiu initially planned to join the mainstream Conservative Party and demand a post from Grigore Gheorghe Cantacuzino, the Mayor of Bucharest and a close associate of Bogdan-Piteşti.^[36] Nevertheless, he came to define this position as a "a bad solution",^[37] and, as Maiorescu and Ionescu formed an alliance, he successfully requested appointment from Bădărău, eventually obtaining it through the means of a decree signed by King Carol I.^[38] Caragiale later commented: "[Bădărău] entrusted me with this golden key, which I had wanted for so long, and which, for all of this, I had not been desperate to obtain."^[39] This contradicted another one of his accounts, in which he confessed that, initially received with indifference by Bădărău, he had claimed that him joining the Conservative-Democrats had been Ion Luca's dying request.^[40] Cioculescu would comment: "There could not have been a more complete distortion of a parent's last wish!"^[40]
He assumed office on November 7, 1912, but, as he later confessed, official records were modified to make it seem that he had been a civil servant since October 29.^[42] As he later recounted, he led talks with a delegation from the Kingdom of Serbia involving the initiative to build a bridge over the Danube to link the two states.^[43] His office ended on January 17, 1914, as the National Liberal cabinet of Ion I. C. Brătianu came to power.^[42]
In 1913, Caragiale wrote the story ''Remember'', while continuing his contributions to ''Viaţa Românească''.^[27] During the early stages of World War I, as Romania remained a neutral country, he reportedly recorded that his friend Bogdan-Piteşti was acting as a political agent of the Central Powers, and that money he made available had been provided by German propaganda funds.^[46] At the time, Caragiale visited the Germanophile literary circle set up by Margarita Miller Verghy.^[47]
As Romania joined the Allied Powers and the Romanian Campaign began, overlooked by conscription in the Romanian Army,^[20] Caragiale drafted the first of ''Craii de Curtea-Veche's three sections, titled "Întâmpinarea crailor" ("Meeting the Rakes").^[49] He did not follow the authorities and Take Ionescu's supporters as they took refuge in Moldavia as German occupation was established in southern Romania, remaining instead in Bucharest.^[20] After the government of Alexandru Marghiloman signed the May 1918 capitulation in front of the Central Powers, he switched his support to the pro-German Conservative Party: on June 29, 1918, he and his half-brother Luca were among the signers of a letter addressed to the aging Petre P. Carp, the former Conservative leader, asking him to take over rule of the country.^[20] The political choice was highly controversial, and later contributed to the end of Caragiale's political career.^[20] In a 1970 biographical essay critical of Mateiu Caragiale, Cioculescu attributed Mateiu authorship of the document, and claimed that Luca had agreed to join in only as a result of his brother's pressures.^[20]
In 1919, as Ionescu gained political influence through his alliance with the People's League, he became head of the press bureau of the Minister of Internal Affairs, serving until 1921.^[54] Later writings of his show that he was deeply dissatisfied with the office, which he equated with "a demotion",^[43] and that he resented Ionescu not having assigned the diplomatic office of consul.^[43] He thus resigned and left the Conservative-Democrats, an action which he later defined as "a grave error".^[43]
Also in 1921, a first draft of his ''Remember'' saw print in ''Viaţa Românească''.^[58] The second part of ''Craii...'', "Cele trei hagialâcuri" ("The Three Pilgrimages"), was sporadically written between 1918 and 1921 (according to Caragiale himself: "it was written on restaurant tables, in the gambling den, in the meeting hall at the Justice of the Peace").^[49] He married Marica Sion, the daughter of poet and nobleman Gheorghe Sion, in 1923, thus becoming the owner of a plot of land named ''Sionu'', in Fundulea (although he resided in Bucharest).^[60] His wife, whom he had most likely met before 1916, while attending Miller Verghy's soirées,^[47] was his senior by 25 years.^[62]

''Craii de Curtea-Veche'' and Italian sojourn

Mateiu Caragiale published ''Remember'' as a volume the following year;^[63] from 1922, he began work on "Spovedanii" ("Confessions"), the third and final section of ''Craii...'', which, as he recounted, coincided with "the most terrible crisis" of his life.^[49] Several of his poems were published in a 1925 collection edited by Perpessicius and Ion Pillat (''Antologia poeţilor de azi''), and were accompanied by a portrait drawn by Marcel Janco; at the time, Caragiale announced that he was going to publish a series of poems under the title ''Pajere'' (it was to be printed only after his death).^[58]
In March 1926-October 1928, Tudor Vianu's ''Gândirea'' magazine published his novel ''Craii de Curtea-Veche'' as a series.^[66] He completed the last additions to the text in November 1927, as its first sections were already in print.^[49] As the last episode was featured by ''Gândirea'', to widespread acclaim, he noted: "From the time when the first of its parts saw print, this work was received with unprecedented fervor in Romanian literature. For the work it required, as well as for the tiresome obsession to which it had me submitted I bear it no grudge: it is truly magnificent [...]."^[68]
By 1926, he rallied with the People's League, and unsuccessfully asked Octavian Goga to assign him a candidature for a Parliamentary seat during the elections of that year.^[43] In January 1928, he again became pursuing a career in the diplomatic service, and sought an appointment for himself at the Romanian Consulate in Helsinki, Finland;^[70] he thus visited Foreign Minister Nicolae Titulescu in Italy, at Sanremo (his passage through Lombardy coincided with major floods).^[71] Titulescu received him at the Miramare Hotel, but talks between them were inconclusive.^[72] According to Perpessicius, the failure was generated by the adversity other politicians had towards Caragiale.^[73] The writer was nonetheless pleased with his visit, having been deeply impressed by the Italian landscape, and attempted to create an atmosphere of, in his words, "profound Italian rustic quietude" on his property in Fundulea.^[68]

Later years and death

Caragiale also began work on the novels ''Soborul ţaţelor'' (1929) and ''Sub pecetea tainei'' (1930), but they would remain unfinished.^[66] In its first draft, ''Sub pecetea tainei'' was published by ''Gândirea'' in April 1930-April 1933, while ''Soborul ţaţelor'' was kept in three different variants.^[66] He ceased all work by 1934, and confessed in his diary: "My spiritual state is probably the same as that of people who feel their final hour nearing and lose all hope".^[66] Nevertheless, he was planning to write a biography of Albrecht Joseph Reichsgraf von Hoditz, an extravagant Silesian nobleman of the 18th century, who is briefly mentioned in "Cele trei hagialâcuri".^[78] Reputedly, he renounced his hectic lifestyle, while giving up alcohol and coffee.^[79]
Mateiu Caragiale died two years later in Bucharest, at the age 51, after suffering a stroke.^[79] Despite his explicit wish and opposition from his widow, speeches were held at his funeral ceremony, including ones by Alexandru Rosetti and Adrian Maniu.^[81] Rosetti and Eugen Lovinescu later recounted an unusual incident sparked by the event: Iancu Vulturescu, a friend of Caragiale's and frequenter of Casa Capşa, looked intensely upon the dead body as he was paying his respects; later in the evening, he committed suicide in a hotel room.^[81]

Caragiale's style and works

Views and mannerisms

Mateiu Caragiale's interest in heraldry and genealogy mirrored his tastes and outlook on the world, which have been described as "snobbery", "aesthetism", and "dandyism",^[83] as well as his enduring interest in history.^[84] It was sparked during his college years, when he would fill his notebooks with sketches of blazons, and as attested by various drawings he produced throughout his life.^[84] He also developed an enduring curiosity for astronomy, magic, as well as botany and agronomy.^[86] These skills, as well as his tastes and talents as a ''causeur'', consolidated his reputation as an erudite in spite of his lack of formal studies.^[86] The cultivation of aesthetic goals had seemingly guided the writer throughout his life — the poet and mathematician Ion Barbu, who was one of Caragiale's greatest admirers,^[88] recounted with amazement that the writer would periodically visit the Romanian Academy's just to look over a certain page in a manual of arithmetics outlining the rule of three (he reportedly said to Barbu: "Remembering its splendor provides me with a ceaseless drive to reread it").^[89]
A characteristic of Mateiu Caragiale's life was his search for noble origins, contrasting his illegitimate status. According to historian Lucian Nastasă, it clashed with his father's discreetness in relation to his Greek ancestors (Ion Luca is known to have described his origins as uncertain, even though these had been well recorded, and to have later commented that noble lineage in Romania relied on spurious genealogies).^[90] Letters Mateiu Caragiale wrote in his youth show that he was envisaging a marriage of convenience as a means to increase his wealth and status:^[91] for a while in 1908, he had a brief affair with a reportedly unattractive French woman, who had been a Roman Catholic nun.^[81] In his permanent search, occasionally ascribed to an inferiority complex,^[93] he indicated that his mother's origins were in Austria-Hungary: before his marriage to Marica Sion, he claimed that he had lost his birth certificate, and, upon completing a new one, that his mother resided in Vienna, and that he himself had been born in the Transylvanian town of Tuşnad.^[94] Early in his youth, he jokingly referred to himself as "Prince Bassaraba-Apaffy", mixing the title used by the early Basarab Wallachian princes and the Apaffy family of Hungarian nobility.^[5]
In Tudor Vianu's view, Caragiale's quest for "an elective heredity" saw him joining a diverse group of writers with similar interests, among whom were Honoré de Balzac, Arthur de Gobineau, and Stefan George.^[96] Commenting that "heredity has, after all, only the value of a psychological fact",^[96] he stressed: "[Caragiale] thus had the right to seek his ancestry on the ascents of history and even to be ready to believe, from time to time, that he had found it."^[86]
Between 1907 and 1911, Caragiale studied Romanian heraldry and, to this goal, read Octav-George Lecca's ''Familii boiereşti române'' ("Romanian Boyar Families"). Many of the comments added by him to his copy of the book are polemic, sarcastic, or mysterious, while the sketches he made on the margin include portrayals of boyars being put to death in various ways, as well as caricatures (such as a blazon displaying a donkey's head, which he mockingly assigned to Lecca).^[99]
Several of the heraldic objects he created were destined for his own use. In June 1928, he raised an ensign he created for the Caragiale family at his property in Fundulea; according to Perpessicius, it was green over yellow.^[49] He also hoisted other symbols, including the flag of Hungary, which, he claimed, underlined his foreign origin.^[94] Other eccentricities Caragiale adopted included wearing a "princely gown" of his own design, unusual speech patterns,^[94] as well as a love for decorations, which he tried to obtain for himself on several occasions.^[103] With noted pride, he listed that, after 14 months of governmental service, he had become Knight of ''Coroana României'', and had received the ''Bene Merenti'' and ''Bărbăţie şi credinţă'' medals first Class (while claiming that he had refused the Serbian Kingdom's Order of St. Sava after it was offered to him with a rank lower than he had asked).^[104] Constantly surrounded by a tight group of party-goers, which included the ''Indépendence Roumaine'' chronicler Rudolf Uhrinowsky,^[105] Mateiu Caragiale nonetheless lashed out at Bohemianism, stressing that "it kills, and many times not just figuratively".^[106]

Prose

Main articles: Craii de Curtea-Veche

Writing shortly after Caragiale died, Vianu defined him as "a figure, possibly a delayed one, from that aesthetic generation of around 1880, who professed a concept of the supremacy of artistic values in life."^[96] This allowed him to draw a parallel between Mateiu Caragiale and the older Symbolist poet Alexandru Macedonski, with the one essential difference provided by their level of involvement in cultural affairs.^[96] Unlike his half-brother Luca, he tended to stay away from the literary movements of his age, and placed his cultural references in the relative past, being inspired by Romantic and Symbolist authors such as Edgar Allan Poe, Auguste Villiers de l'Isle-Adam, and Jules Amédée Barbey d'Aurevilly.^[109] Noting the manifest difference in style between the realist Ion Luca and his two sons, Vianu pointed out that the three shared, as characteristic traits, "The cultivation of fully-developed forms, the view of art as a closed system resistant to the anarchic forces of reality".^[110] According to Cioculescu, a letter written by Mateiu Caragiale in his early youth, which feature his first social observations, imitated his father's calligraphy to the point where literary historian George Călinescu initially believed they were the work of Ion Luca.^[111]
Among the traits which set Caragiale apart from other Romanian writers was his highly creative vocabulary, partly reliant on archaisms and words occurring rarely in the modern Romanian lexis (including ones borrowed from Turkish and Greek).^[112] In certain cases, he used an inventive spelling — for example, he consistently rendered the word for "charm", ''farmec'', as ''fermec''.^[113] Vianu noted that this habit was similar to experiments presents in Ion Barbu's cryptic poetry, ascribing both cases to "the intent of underlining the differentiation between the written and the spoken words".^[114] ''Craii de Curtea-Veche'' introduces a large array of words present in early 20th century slang, as well as rendering the then-common habit of borrowing whole sentences from French to express oneself^[115] (a trait notably present in his own day-to-day vocabulary).^[116]
A first-person narrative, ''Craii de Curtea-Veche'' traces and satirizes Romanian society at the turn of the century, centering on a group of people from various ages and social backgrounds, who have to deal with transition; a core group of three persons, all withdrawn, Epicurean and decadent figures, allow the intrusion of Gore Pirgu, a low-class and uncultured self-seeker, whose character comes to embody the new political class of Greater Romania.^[117] George Călinescu stressed that ''Craii...'' saw Caragiale as "a promoter of literary Balkanism, that thick mix of bawdry notions, of lascivious impulses, of awareness in respect to an adventurous and turbid heredity, all purified and looked down on by a superior intelligence";^[118] in his view: "Reality is transfigured, it becomes fantastical and a sort of Edgar Poe-like unease agitates [the main characters], these good-for-nothings of the old Romanian capital."^[118] This, he argued, validated placing Caragiale's novel among Surrealist writings.^[118]
Several critics and researchers have pointed out that Caragiale used characters and dialogs to illustrate his own perspective on the world.^[121] Among the rich cultural references present in the novel, Şerban Coiculescu identified several direct or hidden portrayals of Caragiale's contemporaries, several of which point to his own family. Thus, Cioculescu argued, the character Zinca Mamonoaia is the writer's step aunt Catinca Momuloaia,^[122] while an entire passage sheds a negative light on Ion Luca (the unnamed "leading writer of the nation" who prostitutes his trade).^[123] Commenting on the brief mention of one of Pirgu's associates, "the theosophist Papura Jilava", the critic concluded that it most likely referred to novelist and traveler Bucura Dumbravă.^[124] Cioculescu stressed that several other characters, including Pirgu and two secondary characters, the homosexual diplomat Poponel and the journalist Uhry, were Caragiale's companions: the latter two were based, respectively, on Uhrinowsky and a member of "an old Oltenian family".^[124] In addition, Barbu Cioculescu believed to have identified other traits shared by the narrator and author, as well as a covert reference to Marica Sion.^[47]
Perpessicus noted that, in one of his outbursts, the character Paşadia criticizes the Brâncovenesc style developed in 17th century Romanian art, which he contrasts with "the tumultous flowering of the baroque", only to have the narrator speak out against him (in the process, the latter allows the reader to deduce that he has training and tastes in art that are similar to Caragiale's).^[127]
''Remember'' is a fantasy novella set in Berlin, depicting dramatic events in the life of dandy Aubrey de Vere, whom Perpessicius argued was "taken, apparently, from a short story by Oscar Wilde".^[128] The mysterious events standing at the center of the writing have been interpreted by several critics as an allusion to de Vere's possible homosexuality.^[47] It contrasts Caragiale's other, more tenebrous, writings of its kind — one of its main traits is the writer's nostalgia towards the German capital, which serves to give the narrative an atmospheric rather than narrative quality.^[128] Its depiction of hallucinatory visions probably owed inspiration to Gérard de Nerval.^[128]

Poetry

Caragiale's symbolist poems, including a series of sonnets, also display his profound interest in history.^[132] They have been defined by Călinescu as "of a savant Parnassian style".^[133] According to Perpessicius, the author had "a certain outlook [...], for which the past [...] should not be sought in books, but in the surrounding landscape".^[134] He illustrated this notion with a stanza from Caragiale's ''Clio'':

Dar ceaţa serii îneacă troianele de jar. Atunci mergi de te-aşează sub un bătrân stejar, Ascultă mândrul freamăt ce-n el deşteaptă vântul, Ca-n obositu-ţi suflet de vrajă răzvrătiţi, Când negrul văl al nopţii înfăşură pământul, În geamăt să tresalte străbunii adormiţi.[135]

But the evening's mist is flooding the heaps of embers. Go then and sit yourself under an old oak tree, Listen to the mighty rustling with which the wind awakens, So that, stirred by the spell, inside your tired soul, When the black veil of night has enveloped the earth, The ancestors laid to rest may shudder in the moaning.

Călinescu noted that, in several of his poems, Mateiu Caragiale had infused his search for aristocratic heredities.^[133] He saw this present in the poem ''Lauda cuceritorului'':

Sunt seri, spre toamnă,-adânci şi strălucite Ce, luminându-mi negura-amintirii, Trezesc în mine suflete-adormite De mult, încât cad pradă amăgirii, Când cerul pârguit la zări cuprinde Purpura toată, şi toţi trandafirii [...][133]

Come autumn, there are deep and splendid nights That, shedding light upon the darkness of my memory, Awake within me souls For long sleeping, and thus I'm cheated, When the ripening sky envelops in its sheen All the Tyrian purple, as well as all the roses [...]

Legacy

''Pajere'' was published in spring 1936, edited by Marica Caragiale-Sion and Alexandru Rosetti.^[78] Later in the year, a volume of collected works, ''Opere'', was published by Rosetti and featured prints made by Mateiu Caragiale at various moments during his lifetime.^[78] ''Craii de Curtea-Veche'' was chosen "best Romanian novel of the twentieth century" in an early 2001 poll conducted among 102 Romanian literary critics by the literary magazine ''Observator Cultural'' (No. 45-46).^[140] His copy of Octav-George Lecca's ''Familii boiereşti române'', featuring his many comments and sketches, was the basis for a 2002 reprint.^[99] In 2007, ''Remember'' was issued as an audiobook, read by actor Marcel Iureş.
Among contemporary writers to have claimed inspiration from Caragiale is Ştefan Agopian, who acknowledged he pursued his stylistic concerns in his 1981 novel ''Tache de catifea''.^[142]
Large portions of the diaries kept by Mateiu Caragiale are lost. The transcript made by Perpessicus was criticized for having selectively discarded much content, while originals kept by Rosetti were mysteriously lost during the Legionnaires' Rebellion of 1941.^[81] Additional notes, which notably featured Caragiale's criticism of his father, were preserved for a while by Şerban Cioculescu, before being borrowed to Ecaterina Logadi, Ion Luca's daughter, and never recovered.^[81] A significant number of his drawings and paintings, which Vianu assumed had survived by 1936,^[86] have also been misplaced.^[81]

Notes

1. According to Cioculescu (p.360): "Deceived by the old orthography, with its final short ''u'', ''Mateiu'', several young people pronounce the final vowel, as if part of a diphthong: ''Ma-te-iu''."
2. Cioculescu, p.359, 366, 375
3. Nastasă, p.19; Perpessicius, p.XVII
4. Cioculescu, p.375
5. Cioculescu, p.362
6. Cioculescu, p.366-367; Nastasă; Perpessicius, p.V
7. Cioculescu, p.367
8. Cioculescu, p.367; Perpessicius, p.V, IX, XVII
9. Perpessicius, p.XVII
10. Cioculescu, p.344, 368
11. Cioculescu, p.344, 358; Perpessicius, p.V-VI, XVII
12. Cioculescu, p.344; Perpessicius, p.VI
13. Perpessicius, p.VI
14. Cioculescu, p.368
15. Perpessicius, p.XVII-XVIII
16. Cernat, "Spre Ion Iovan..."; Cioculescu, p.356-382
17. Cioculescu, p.352, 357-358, 360-362, 363-364
18. Cioculescu, p.362
19. Cioculescu, p.364-365
20. Cioculescu, p.369
21. Cioculescu, p.358, 362-363, 368; Perpessicius, p.XVIII
22. Cioculescu, p.363
23. Cioculescu, p.372-373
24. Cioculescu, p.372
25. Perpessicius, p.XVIII
26. Cioculescu, p.365
27. Perpessicius, p.XIX
28. Cioculescu, p.365, 368
29. Cioculescu, p.356-357, 368
30. Cernat, "De la Barbu Cioculescu citire"; Cioculescu, p.357
31. Cioculescu, p.363-364
32. Cioculescu, p.369
33. Perpessicius, p.XIX
34. Cioculescu, p.363
35. Cioculescu, p.365, 368
36. Cioculescu, p.365, 378
37. Cioculescu, p.378
38. Cioculescu, p.366, 379
39. Cioculescu, p.366
40. Cioculescu, p.379
41. Cioculescu, p.379
42. Cioculescu, p.380
43. Cioculescu, p.381
44. Cioculescu, p.380
45. Perpessicius, p.XIX
46. Cioculescu, p.376
47. Cernat, "De la Barbu Cioculescu citire"
48. Cioculescu, p.369
49. Perpessicius, p.XXI
50. Cioculescu, p.369
51. Cioculescu, p.369
52. Cioculescu, p.369
53. Cioculescu, p.369
54. Cioculescu, p.381; Perpessicius, p.XIX
55. Cioculescu, p.381
56. Cioculescu, p.381
57. Cioculescu, p.381
58. Perpessicius, p.XX
59. Perpessicius, p.XXI
60. Nastasă, p.19; Perpessicius, p.XIX
61. Cernat, "De la Barbu Cioculescu citire"
62. Cernat, "Spre Ion Iovan..."; Cioculescu, p.352
63. Perpessicius, p.XIX-XX
64. Perpessicius, p.XXI
65. Perpessicius, p.XX
66. Perpessicius, p.XXII
67. Perpessicius, p.XXI
68. Perpessicius, p.VIII
69. Cioculescu, p.381
70. Cioculescu, p.381-382
71. Perpessicius, p.VII, XX-XXI
72. Perpessicius, p.VII-VIII, XX
73. Perpessicius, p.VII
74. Perpessicius, p.VIII
75. Perpessicius, p.XXII
76. Perpessicius, p.XXII
77. Perpessicius, p.XXII
78. Perpessicius, p.XXIII
79. Cioculescu, p.357
80. Cioculescu, p.357
81. Cernat, "Spre Ion Iovan..."
82. Cernat, "Spre Ion Iovan..."
83. Cernat, "Boierimea română...", "Spre Ion Iovan..."; Cioculescu, p.343, 368; Nastasă, p.19
84. Perpessicius, p.IX
85. Perpessicius, p.IX
86. Vianu, p.172
87. Vianu, p.172
88. Cioculescu, p.349
89. Vianu, p.174
90. Nastasă, p.18-19
91. Cernat, "Spre Ion Iovan..."; Cioculescu, p.352, 361, 376
92. Cernat, "Spre Ion Iovan..."
93. Cernat, "Boierimea română..."; Cioculescu, p.359
94. Nastasă, p.19
95. Cioculescu, p.362
96. Vianu, p.171
97. Vianu, p.171
98. Vianu, p.172
99. Cernat, "Boierimea română..."
100. Perpessicius, p.XXI
101. Nastasă, p.19
102. Nastasă, p.19
103. Cernat, "Spre Ion Iovan..."; Cioculescu, p.380; Nastasă, p.19
104. Cioculescu, p.380-381
105. Cioculescu, p.351, 370
106. Cioculescu, p.352
107. Vianu, p.171
108. Vianu, p.171
109. Vianu, p.172-173
110. Vianu, p.173
111. Cioculescu, p.342, 344, 368
112. Cioculescu, p.363; Vianu, p.180-181
113. Vianu, p.181
114. Vianu, p.452
115. Călinescu, p.370-371
116. Cioculescu, p.344, 361, 362-363
117. Perpessicius, p.XIII-XVI
118. Călinescu, p.371
119. Călinescu, p.371
120. Călinescu, p.371
121. Cernat, "Boierimea română..."; Cioculescu, p.347-352; Nastasă, p.19; Perpessicius, p.X-XI
122. Cioculescu, p.350
123. Cioculescu, p.351, 358-359
124. Cioculescu, p.351
125. Cioculescu, p.351
126. Cernat, "De la Barbu Cioculescu citire"
127. Perpessicius, p.X-XI
128. Perpessicius, p.XI
129. Cernat, "De la Barbu Cioculescu citire"
130. Perpessicius, p.XI
131. Perpessicius, p.XI
132. Călinescu, p.370; Cioculescu, p.365; Perpessicius, p.IX-X
133. Călinescu, p.370
134. Perpessicius, p.IX-X
135. Perpessicius, p.X
136. Călinescu, p.370
137. Călinescu, p.370
138. Perpessicius, p.XXIII
139. Perpessicius, p.XXIII
140. Lucian Boia, ''Romania: Borderland of Europe'', Reaktion Books, London, 2001, p.254. ISBN 1861891032
141. Cernat, "Boierimea română..."
142. Iulia Badea-Gueritée, "Spécial Roumanie. Dans la peau de Ştefan Agopian", in ''Lire'', November 2005; retrieved July 4, 2007
143. Cernat, "Spre Ion Iovan..."
144. Cernat, "Spre Ion Iovan..."
145. Vianu, p.172
146. Cernat, "Spre Ion Iovan..."

References

★ George Călinescu, ''Istoria literaturii române. Compendiu'', Editura Minerva, Bucharest, 1983

★ Paul Cernat,

★
★ "Boierimea română, adnotată de Mateiu Caragiale", in ''Observator Cultural''; retrieved July 3, 2007

★
★ "De la Barbu Cioculescu citire", in ''Observator Cultural''; retrieved July 12, 2007

★
★ "Spre Ion Iovan, prin Mateiu Caragiale", in ''Observator Cultural''; retrieved July 4, 2007

★ Şerban Cioculescu, ''Caragialiana'', Editura Eminescu, Bucharest, 1974.

★ Lucian Nastasă, ''Genealogia între ştiinţă, mitologie şi monomanie'', at the Romanian Academy's George Bariţ Institute of History, Cluj-Napoca; retrieved July 3, 2007

★ Perpessicius, "Prefaţă" and "Tabel cronologic", in Mateiu Caragiale, ''Craii de Curtea-Veche'', Editura pentru Literatură, Bucharest, 1965, p.V-XXIII.

★ Tudor Vianu, ''Scriitori români'', Vol. III, Editura Minerva, Bucharest, 1971.

External links

★ Biography at Romanian Voice